With the Oxford Reverb, we spent a long time developing it, and in the end came up with a sonically superior reverb to anything that had come before, because previously it wasn’t technically possible! There are some amazing presets in that Reverb, as it also uses an EQ inside the reverb to color the tail. The engineer who had designed the Oxford EQ and Dynamics-and much of the SSL G-series channel strip in the 80’s-had been a sound engineer since the 1970’s and wanted to create the kind of processors that no hardware was able to provide before. NE: Well, that was quite a fun time creating completely new algorithms. So when you buy an EQ or a Dynamics plug-in, you’re literally buying the same channel strip from the original million-dollar console.ĭH: After porting the original console algorithms, how did the team approach developing new plug-ins?
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They were always digital algorithms, and we’ve just taken that code and moved it to a different platform. But at Sonnox, we’re not trying to emulate a piece of classic analog outboard. There are many great emulations out there of classic hardware. Don’t get me wrong-they do a fantastic job at it. I think that’s what sets Sonnox apart from many other plug-in brands that primarily emulate existing gear. He uses the Oxford plug-ins and finds it hard to tell the difference. In fact, Mick Guzauski had an OXF-R3 console which he obviously knows very well, having mixed many platinum Sony records on it. Somehow it doesn’t sound digital, it’s not harsh or brittle, it just sounds very transparent and musical.” Essentially it sounds exactly like the console as it’s the same algorithm. I remember at demonstrations in the UK people were impressed and saying, “Wow.
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The Inflator and the TransMod came first, followed by the Reverb, Limiter, SuprEsser, and others.ĭH: How were the plug-ins received by Pro Tools users? The Dynamics plug-in contains six modules-gate, compression, expander, limiter, side-chain, and warmth control-which is great for live, because you only need to use one insert and you’ve got all these different modules within one rack space, which is cool.Īfter releasing the first two plug-ins, we started branching out from the console and developing other unique plug-ins for professional mixing. If you look at the consoles, the plug-in GUI is an exact footprint of the EQ in the dynamics sections of the console. NE: The first two plug-ins were the Oxford EQ and the Oxford Dynamics, which were taken directly from the channel strip of the console. DH: What were the initial plug-in offerings?